Neil Armstrong Quotes

Most of the time - at the Grammys for example - a DJ will perform with just their hands in the air because they can't do anything and that makes it a little awkward, I think.

I made my name and reputation DJing in hip-hop clubs in New York. 'Celebrity DJ' is a term that I hated. To me a celebrity DJ is someone that's on 'Big Brother' or in some kind of B-movie who gets a gig to DJ even though they're not talented enough to do it.

And I know how many DJ pools have grown and I know how DJing has grown in the overall, but that was the technical side of it to me. DJs were rolling around, looking for stuff to buy and looking to see what was in the store when they get there.

I have such respect for the art of deejaying. I hesitate to even call myself a deejay.

The technology is good and it's bad. You know what you're dealing with out there musically, but my head stops at this electronic stuff. I don't quite know what I'm dealing with out there yet.

I'm a true believer that unless you're Prince or Stevie Wonder - and even Prince is showing that he needs help - not everybody can produce themselves. I'm definitely not that person.

A DJ can't just play one song. It's about playing a set, or how you connect songs in those two hours, and where you place them.

Now, the DJ becomes a star in itself because of the way he programs the songs with lows and then highs and then slowing it down. The big DJs, like Tiesto and Deadmau5 and all those guys, they are very, very creative.

I've been DJing a little bit, so you get used to the fact that music sounds brilliant when it's loud.

I do remember in high school I wanted to be a disc jockey.

The art of DJing is sharing music with one another... The technology's definitely taking it into a new direction to where it's really becoming performance-based.

I can read a crowd pretty well. I know what to play and know how to keep it interesting for them and for myself as well. Most of the other DJs are more like producers so they become famous because they make hits and then they start DJ-ing. But I'm more from the other way around.

If I'm working, I'm not D.J.'ing. And if I'm not working, I'm D.J.'ing all the time.

I just think a lot of people don't give credit to EDM producers or DJs. People think they're just button pushers and just get on stage and don't really perform.

Then I just moved into being a DJ when that turned into the hottest thing.

I'm a DJ, but I'm also a ridiculously high-grossing musician due to doing productions.

I begged and begged, and my uncle gave me his old turntables. It was one hi-fi and one old Stereo Lab turntable and a rusty mixer. I was really chuffed. I kept that for five years - that's where I learned to mix.

J Dilla is the top producer of all time, in my book, alongside Timbaland and Pharrell. Then DJ Mustard.

When I was a youngster, I wrote all this music - it just came out of me - and I think record executives were like, 'Oh, wow, he's a genius, let's give him a million dollars!' But the minute I started producing the records, they'd be like, 'Oh, my God, you're terrible! You're all over the place! We can't market this!'

I wanted to be a disc jockey.

The DJ role, it's never been a big thing for me.

For me, I have the highest amount of respect for DJs. There's a real skill set and ability to hold a crowd's attention for four to five hours, especially with an R&B/hip-hop and open-format music.

I used to do this one club called New York Sound Factory where I played house, hip-hop, and dancehall. I was one of the first DJs in the South to play everything.

We really hated being in a band. The joy for us and why we slipped nicely and neatly into it was because we didn't need a band anymore. We became a duo because of technology.

My uncle, who gave me my first turntables when I was ten, also gave me records to mix, but I never understood house music. I thought it was boring until I was old enough to go to a club and feel it, the fact that it actually makes you just want to dance.